The content of this painting is taken from the Tang Dynasty poem "Mountain Residence Happy Friends Visit", and the content of the picture is very poetic. A book house in the quiet landscape, a mountain road twists and turns to the mountain. The two literati sat down and talked on their knees. What do they say? You may say that the beautiful scenery in front of you is not enough, half a pool of autumn water and a room mountain. There is water in front of the window, there is a mountain behind it, living here, what can you worry about!
Painters of the Ming and Qing dynasties liked to paint "poetic intentions" and hoped to borrow the artistic conception of poetry to enhance the style of their works. In addition, it is hoped that the work can have a wider audience. When Wang Yi painted this "Tang Dynasty Poetic Intention", he was particularly concerned about the beauty of the composition, hoping that people could feel the indifference in his heart.
Wang Yi Tang poetic intent
Wang Yi is regarded as a mainstream painter, and his style represents the orthodoxy of the painting world. He likes to imitate the ancients, and he also likes to express his skills. He admired the elegant life of the literati and doctors, and felt that it was commendable to imitate the ancients and live in seclusion in the mountains. Wang Yi came from an ordinary background, and when he became an adult, he befriended literati and inkers to enhance his artistic accomplishment. In this way, he has a "Shanggu" complex in his creation.
Shanggu and vintage are not the same thing. From the beginning of the Song Dynasty to the Yuan Dynasty Zhao Songxue, the late Ming Dynasty Dong Qichang, all put forward the "ancient meaning" statement. This statement gradually became the aesthetic thought of literati painters, Wang Yi not only inherited his predecessors in technique, but also approached his predecessors in artistic thought, and his works showed a sense of ancient beauty. Shanggu is a creative attitude; retro is a creative technique. Shanggu can better represent Wang Yi's artistic style.
Wang Yi Tang poetry intention partial
Wang Yi expressed his Shanggu complex in one sentence, "with the pen and ink of the Yuan people, the Song people are transported to the hills and valleys, and the Ze is rhymed with the Tang dynasty". He named himself "Smoke Cultivator", how romantic and elegant, it can be seen that his painting style is also beautiful, neat and unworldly. "Tang Poetic Intentions" represents his early style, the composition must be beautiful, and the pen must be skillful. From the visual effects, reveal his extraordinary abilities and self-confidence mentality.
"Tang Poetic Intentions" cannot be seen to specifically imitate the works of one predecessor, but it can be seen that it has the characteristics of Dong Yuan, Li Cheng, and Huang Gongwang. This is the Shanggu complex, no matter how he paints, it is full of rich and quaint atmosphere. This is Wang Yi's style, which people use to summarize it with the four words of "Landscape and Water Qinghui".
Clear and beautiful, the landscape is sentient, the literati is poetic, indifferent to the feelings, from a painting to see the beautiful scenery, but also to see the literati's wind and bones. This is the charm of Wang Yi's works, and it is also the charm of "poetic intent". Looking at the clouds and smoke floating in the painting, gathering and scattering impermanence, looking at the babbling brook in the painting, running happily, a complex emotion haunts the heart.
Not joy, not sorrow, not simply enjoying the beauty, such a complex thought expands the artistic space of the work. This is the advantage of poetic intent, even if you can't understand the pen and ink technique, you can feel the charm.
There are changes in pen and ink, and the composition is not congested, which is not the Style of Wang Yi in people's impressions. The landscape is clear and the ancient complex is again the work of Wang Yi in people's hearts. At first glance, it does not seem to look like Wang Yi's works, and slowly tasting this is Wang Yi's masterpiece.